乐山师范学院学报

凤意象在汉赋中有三种存在方式：一为天界祥瑞，其直接目的是为了彰显君威；二为凤纹凤饰，主要出现于天子仪仗、建筑和工艺品上，以起到镇宅辟邪等功用；三为以凤为喻，或喻人，或喻物，或喻声音形态，喻人时多用来表达内心的苦闷。汉赋中凤意象具有“双重内核”，既是“神性”的弱化也是“自我”的觉醒，汉代凤的祥瑞性和装饰性不断加强，既有谶纬思想的推动，也是人对自我关注的强化以及对自我价值思考的结果。凤意象世俗化的政治成因是凤鸟为嬴秦的图腾，汉灭秦后，其在潜意识中会打压凤的地位，但由于汉帝国完成了大一统，且高祖身处的楚地崇凤思想浓厚，所以只是削弱了凤的神性，而更凸显了其祥瑞性。

The phoenix imagery in Han Fu exists in three forms. Firstly, it represents heavenly auspiciousness, directly aimed at manifesting the majesty of the emperor. Secondly, it appears as phoenix patterns and decorations, mainly on imperial regalia, architecture, and artifacts, serving functions such as protecting the home and warding off evil spirits. Thirdly, it serves as a metaphor, either for people, objects, or sounds and forms. When used to metaphorically refer to people, it is often employed to express inner distress. The phoenix imagery in Han Fu has a "double core", which is both the weakening of "Divinity" and the awakening of "Self". The auspicious and decorative nature of the phoenix in the Han Dynasty was continually enhanced,driven by the promotion of prophetic and latitudinal thoughts, as well as the intensification of human self-concern and reflection on self-value. The political cause of the secularisation of phoenix imagery is that the phoenix was the totem of the Qin Dynasty,and after the Han Dynasty destroyed Qin, it subconsciously suppressed the phoenix's status. However, since the Han Empire achieved unification and the Chu region, where Emperor Gaozu hailed from, had a strong worship of the phoenix, the phoenix's divinity was only weakened, and its auspiciousness was more highlighted.